'He dared not speak, he dared not move; _but pressing a ringlet of hair, which had escaped its band, to his lips, waited silently_. '"Yes, yes; I think--it may,--" at last she muttered; but so confusely, as scarcely to be distinguishable. 'Fitzeustace remained rooted in rapturous attention, listening. '"_I thought, I thought he looked as if he could love me" articulated the sleeping Eloise. "Perhaps, though he cannot love me, he may allow me to love him.--Fitzeustace!_" 'On a sudden again were changed the visions of her slumbers; terrified, she started from sleep and cried, "Fitzeustace." CHAPTER XII. 'Needless were it to expatiate on their transports; they loved each other, and that is enough for those who have felt like Eloise and Fitzeustace.' After comparing these two scenes of two sleeping lovers, each, of whom reveals the heart's secret to an attentive watcher; after comparing the literary characteristics of the one scene with those of the other, the structure of the sentences, language, details, touches; after noticing the identity of the very words used in some parts of the parallel passages, can any reader think the two scenes were by two different writers? that, whilst the extract from _Zastrozzi_ is a piece of original writing, the extract from _St. Irvyne_ is a piece of a translation from the undiscovered work of an undiscovered German author? These passages are fair examples of the two books from which they are taken. Can any reader hesitate in coming to the conclusion that Shelley reproduced in the later the materials of the earlier romance? The writer may have been unaware he was reproducing scraps of his former work. The reproduction may have been the result of mental action, occasioned by the effort of producing the earlier tale, rather than the consequence of a deliberate design to use the old stuff for a second time. But the reproduction is obvious. _St. Irvyne_ contains six sets of verses, that are interesting examples of the earliest fruits of the poetical disposition, which soon developed into Shelley's poetical genius. Resembling Byron's _Hours of Idleness_, in affording only the faintest indications of the author's eventual faculty for the service of the Muse, these sets of verses are chiefly noteworthy for their evidence that the _Hours of Idleness_ may be styled 'the horn-book,' from which Shelley acquired the rudiments of the art of poesy. The resemblance of one of those pieces of versification to one of the stanzas of 'Lachin-y-Gair' in the _Hours of Idleness_ is so remarkable, that the Oxonian's lines may fairly be styled a plagiarism on the lines that had come a few years earlier from the Byron of Cambridge. THE STANZA OF 'LACHIN-Y-GAIR.'